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  1. Line development
    The creation of a line or collection that is presented for sale during a specific time period
  2. How many collections per year?
    • 50s/60s = 2 lines per year
    • 70s = 4 lines per year
    • 80s/90s = 10-12 lines per year (3 spring, 3 fall, 1 summer, 2 holiday, + resort, etc)
  3. Why does the customer want more product lines per year?
    • Consumer desire for constant change
    • Accessibility to trend information (via Internet)
    • Increased regional distinction
    • Faster product cycles
  4. Product developer's goals and responsibilities
    • Understanding: the target consumer
    • Conceptualization: visualize new ideas and communicate concepts
    • Creation: development of finished styles
    • Must share the critical eye of the target marget
  5. Design elements
    • Color
    • Fabric/Texture
    • Silhouette
    • Details (including graphics)
  6. How does our line differ from the competition?
    • Does it hit a new market?
    • Does it fulfill a void in an existing market?
    • Price issues
  7. Styling issues
    • Is the line design-driven or price-driven?
    • Basics vs. fashion items
    • Fabric-driven or silhouette-driven?
    • Fit, function, or fashion, or can we integrate all of them?
  8. Line composition
    • Keep it directed (not too many different styles)
    • Bottoms- or tops-driven?
    • Pick an item or two to anchor the line
    • What categories do we need to cover?
  9. How do we represent silhouettes?
    • CAD
    • Photos
    • Illustrations
  10. Graphics
    • Is our logo important?
    • Are we a graphics-driven line?
    • Types of graphics
    • Prints, embroideries, etc.
    • Size and location of graphics
  11. Silhouette
    • Line: visual path the eye follows when viewing a garment
    • Shape: basic shape of garment
    • Texure: surface variations, fabrics
  12. Shape
    • The overall outline of a garment
    • Created by the cut and construction of a garment
    • Can reveal or disguise the natural body contour (most flattering = hides least attractive feature and highlights most attractive)
  13. How garment lines create LENGTH
    • Narrow center panel or button placket
    • Vertical trimming
    • Princess seams
    • Neck to hem closing
  14. How garment lines create WIDTH
    • Widely spaced vertical lines
    • Large bold horizontal stripes
    • Large stripes, even vertical ones
  15. Design principals
    • Proportion
    • Balance
    • Rhythm (unity or unified look)
    • Emphasis
    • Harmony (lines of a garment)
  16. Proportion
    • RATIOS
    • How lines and shapes divide the space, garment, or outfit into parts
    • Involves the relationship of one part/space compared to another, compared to the whole garment, and to the body
    • Uneven proportions/ratios are generally more interesting
  17. Balance
    • Refers to how lines, shapes, colors, textures, and patterns are used to break up an area or space into parts
    • Can increase or decrease apparent visual weight
    • Can be symmetrical or asymmetrical
  18. Symmetrical balance
    • Both sides are EXACTLY the same (mirror image)
    • Gives a very solid and professional look
    • Aka "formal balance"
  19. Asymmetrical balance
    • Tends to draw attention to a particular area
    • Aka "informal balance"
  20. Emphasis
    • A dominant focal point in a garment or outfit created by the use of line, shape, color, texture, and/or pattern
    • A point for the eye to rest on for a period of time
    • An outfit without a dominant point of interest appears boring/unfinished
    • There can be TOO much emphasis = distracting, confusing
  21. Rhythm
    • Refers to how attention is led around the garment or the outfit
    • Achieved when the lines, shapes, colors, textures, or patterns are arranged to lead the viewer's eye easily from one part of the garment to another
  22. Rhythm by repetition
    • Repitition of line, shape, color, texture, or pattern within the design
    • Ex: row of buttons, trim on collar and cuffs
  23. Rhythm by gradation
    • Gradual change in lines, shapes, color values, or textures within a design
    • Degree of change must be SMALL so-as not to be choppy
  24. Rhythm by radiation
    Lines, shapes, colors, or textural folds inward or outward from a central point or area
  25. Harmony
    • Use of lines, shapes, colors, textures, and patterns with enough variety to avoid boredom, but not enough to create conflict
    • Balance of variety and unity
  26. Variety
    When the design has differences to create interest
  27. Unity
    • A sense of completeness
    • When nothing is missing, left out, or undone
  28. Response time
    • Time it takes from beginning the line development process to shipment of the styles to the retailer
    • Desire for more product lines = merchandisers must work to streamline the development process
  29. How do we speed up the line development process?
    • QR philosophy
    • CAD
    • Video conferencing (production & sales meetings)
    • Access to product information 24/7
  30. Design environment
    • Need to establish a creative environment for design team (might be different from that of the rest of the corporation)
    • Create smaller, designer-friendly area for cross-pollination of ideas
  31. Methods for developing design ideas
    • Buying actual garments (for fit, fabric, detailing, construction...)
    • Collecting tear sheets > concept boards
    • Sketching design ideas (croquis & CAD)
  32. Line plan
    • Shows styles, colors, fabrics, and sizes
    • Based on project volume or desired SKU plan
    • Need to create sufficient design to meet projected sales
    • Balance for fashion content based on target market
  33. Line plan advantages
    • A control method for designers
    • Breaks the creative process into smaller units
    • Breaks the line into price categories
    • Easy way to monitor the creative process
  34. Style development
    • 1) Fabrics selected
    • 2) Color palette chosen
    • 3) Silhouettes created
  35. Line sheets
    • Created for each style
    • Includes a style #, fabric, colors, description, size range
  36. Prototyping
    • First sample
    • Used for fit purposes & initial price idea
    • Produced in whatever fabric & color is available
  37. Pattern blocks
    Sets of patterns for each basic garment type produced by the company
  38. Pattern maker
    • In-house
    • Freelance
    • Factory-produced using detailed spec sheet
  39. Pre-costing
    • Prototype process provides an opportunity for costing data
    • Merchandiser can use this data plus historical costing info to estimate costs for any given style
    • Styles may be dropped or revised based on pre-costing
  40. Specifications
    • Initital specs sent to factor for proto
    • Corrections based on proto samples then added to spec sheet
    • Product engineering - can we reduce cost by adjusting patterns?
    • Care labels - wash instructions, country of origin, fabric content, RN #
  41. Final costing
    • Detailed cost to manufacture a garment
    • Includes:
    • -Fabric consumption
    • -Labor costs
    • -Trim costs
    • -Embellishment costs
    • -Finishing costs
    • -Packaging costs
  42. Final line adoption
    • Point at which it is decided which styles will be a part of the line
    • Line is reviewed constantly throughout the development process
Card Set
FIT product development final PART 4
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